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Children of clergy often experience pressure due to the expectations placed on them,[1][2][3][4] and may develop feelings of isolation and inner conflict as a result.[5] Parental workload (which, by definition, includes working on the weekend) may also be a source of stress.[4]

Some writers suggest that there is a "preacher's kid syndrome", in which children of clergy reject religion and the church.[6] Such rebellious children of the clergy are a stock figure in the Southern literature of the United States,[7] and this view is seen as a stereotype.[8] One literary example occurs in Eugene O'Neill's play "The Iceman Cometh" when the traveling salesman Hickey describes his life: "You see, even as a kid I was always restless. I had to keep on the go. You’ve heard the old saying, “Ministers’ sons are sons of guns.” Well, that was me, and then some."

There are two different stereotypes of the preacher's kid: in one, they are perfectly angelic role models,[12] in the other they are rebels at the opposite extreme.[12][13] The existence of these stereotypes is a source of pressure on children of clergy.[13]

Examples of the negative stereotype include the preacher's son from Maine in the film Gettysburg, described as the "best darn cusser I've ever heard", and Jessica Lovejoy in the "Bart's Girlfriend" episode of The Simpsons.[14]

Sitcom Three's Company character Chrissy Snow played by Suzanne Somers played off a variety of stereotypes including the "dumb blonde", but also as daughter of Reverend Luther Snow (Peter Mark Richman), the character – as well as much of the show's humor – was developed around aspects of Chrissy's innocence and naïvety based on a stereotype of her religious upbringing in small town America.

The TV series 7th Heaven is also a good example of the pastor's kid stereotype. The Camden family was large. The father, Eric (Stephen Collins), was a minister. He and his wife Annie (Catherine Hicks) had seven children. Sometimes they were perfect angels, but most of the time the show displayed the trials that the family went through as the children were growing up. Often the children were criticized because of who their father was.

An enduring image from popular music is presented in the hit song "Son of a Preacher Man," a ballad of young love remembered, places the minister's son as a "sweet-talkin' son of a preacher man", who is possibly more sensitive to women and thus able to emotionally reach the girl who claims that, "The only one who could ever reach me/Was the son of a preacher man/The only boy who could ever teach me/Was the son of a preacher man." Versions of the recording from major stars like Dusty Springfield and Aretha Franklin kept this image, drawn from a southern US setting, visible internationally.

The "preacher's daughter" is also a pervasive negative stereotype ascribed to female children that has a particular set of connotations, often sexual, rebellious, or dark in nature. The stereotype is typically suggestive of a dual-life: one lived as the expected descendant of piety and the other lived wild, outside of the morals of religion, cloaked in secrecy. Songs such as "Preacher's Daughter" by American R&B singer-songwriter Anthony Hamilton exhibit this role: "She had a habit that she couldn't really stop, needed money so she had to hit the block, nobody knew it so she steady had to play a role, went to church, but surely tearin' up her soul... she was a Preacher's Daughter."

^David Peterson, "Preachers' kids; The children of preachers saw life in their church or synagogue from the inside. Many rejected the preacher's life, but others were drawn to follow their father's footsteps." (Minneapolis Star Tribune, byline Oct. 11, 1997, accessed Nov. 21, 2008)